You can almost sense how self-conscious Scooter felt when it came time to engage in the traditional opening-theme self-promotion; Scooter's entire personality boils down to consumerism: "I've got my computer."
I was listening to the Muppet Babies theme song the other day (don’t judge me!), and I made a point of studying its lyrics. (Surely you’ll concede that somebody has to intently critique the lyrics to songs from Saturday morning cartoons that aired 25 years ago.)
Point being, I noticed something terrible. Note what each of the Babies says in the opening theme:
Kermit: I like adventure. Piggy: I like romance. Fozzie: I love great jokes. Animal: Animal dance! Scooter: I’ve got my computer. Skeeter: I swing through the air. Rowlf: I play the piano. Gonzo: And I’ve got blue hair.
Now, I admit that Gonzo’s “I’ve got blue hair” is hardly characterization at its deepest and most stirring, but whereas Kermit’s an adventurer and Fozzie’s a comedian and Rowlf’s a musician, Scooter’s only claim to fame is, “I’ve got my computer.”
Legend of the Seeker had a rough start in its first season, but it improved greatly by the season finale. Season two picks up where the first ended, both in terms of plot and quality level.
The first season of Legend of the Seeker faced a decidedly uphill battle. Not only was it one of the first pure swords-and-sorcery fantasy shows in many years, it was also the first major show to try its hand in syndication since Xena: Warrior Princess went off the air. The link between the two shows was executive producers Sam Raimi and Robert Tapert. Conventional wisdom said that the syndication market was basically dead in the 00’s, left behind by the proliferation of cable channels willing to fund original programming. Raimi and Tapert believed otherwise; with a tailor-made timeslot on Saturday nights on stations usually devoted to the CW Network (which doesn’t broadcast on Saturdays), they believed they could find success again in syndication. And they turned out to be right. Action-oriented shows are always easier to market worldwide, and with strong ratings in dozens of countries, Legend of the Seeker was renewed before the first season was even halfway over.
But finding an audience wasn’t the show’s only uphill battle. Based on author Terry Goodkind’s sprawling epic fantasy series The Sword of Truth, Legend of the Seeker had to find a way to make a dense, highly serial story into one-hour stand-alone episodes. Unlike a cable network, the reality of the syndication market demanded that the show not be excessively serialized. Syndicators believe strongly that their shows need to be accessible to a casual audience that might not see every episode. Creatively, this was a huge issue for the show. Go too episodic and you turn off your core audience, go too serial and you alienate the casual viewers that are theoretically the lifeblood of syndication. And they struggled with this quite a bit for the first half of the season or so. But eventually, the show managed to find that balance, turning into a very satisfying hour of TV from week to week. The action scenes were always strong, and filming in New Zealand is always a huge advantage to a fantasy story. But the acting got better, the writing improved, and by season’s end, Legend of the Seeker actually resembled an engaging, serious fantasy show instead of the unintentional parody it started as.
This past weekend’s season two premiere found the show picking up right where it left off. The episode established the premise of the season, taken directly from Goodkind’s second novel, The Stone of Tears. Series hero Richard Cypher (Craig Horner) has destroyed the evil Darken Rahl, but in doing so, has inadvertently opened a fissure in the earth which leads directly to the Underworld. And the Keeper, the lord of the Underworld, is scheming to get out and destroy the surface world. So Richard and his companions must find the Stone of Tears, a near-mythical object which will allow them to seal the Keeper back in the Underworld. Aside from the overarching plot, though, the episode managed to work in a storyline involving rescuing kidnapped village girls which was resolved by the end of the hour. Not to mention another thread popping up regarding Richard’s surprise family lineage, which is already tearing apart the D’Haran nation, the people formerly loyal to Darken Rahl. Oh, and there’s another prophecy to worry about. In the first season, a prophecy said that The Seeker (Richard) would defeat Rahl, but now a different prophecy is saying that Richard will fail in his quest to seal up the Keeper. All in all, it was a strong opening for a show that is starting to live up to its considerable potential. Now the challenge is maintaining that level of quality as the show returns to its more episodic structure next week.
About partway through ABC’s adaptation of the Reagan-era sci-fi drama V, an FBI counter-terrorism agent, played by Steve the Pirate from Dodgeball, kicks down a door to a suspicious rusty old shed discovered while hot on the trail of a suspected terrorist. “Nothing!”, he proclaims as the interior reveals the banal components of your average quotidian shed, wishing to seek no further.
It turns out that the FBI agent was deliberately defeatist because he didn’t want his fellow spooks sneaking into his secret lair. Still, this disavowal pretty much sums up V; a dramatic entrance (the arrival of a spaceship/flying LCD screen) and a subsequent failure to carefully examine interiors. Who would believe for one second that a counter-terrorism agent would surrender so easily on the trail of a terrorist cell recently found to be making massive purchases of C-4?
The rejection of surfaces is pretty much the thesis of V‘s first episode, but it’s a thesis upheld by the lazy sci-fi shorthand of a singular empirical reality laying beneath the surfaces. We know the good guys are good, because they know what’s really going on, whereas the suckers pledging a dogmatic “devotion” (the show’s big buzz word) to the new movement are apparently just dupes lured in by the Id-drive to fuck galactic travelers or the desperation-drive to accept anybody offering peace and prosperity in a time of turmoil.
How slow is too slow for non-violence? One girl counts to five and voila!
The video beating and subsequent murder of Derrion Albert is incredibly disturbing. In surfing for the video, I stumbled upon a very young girl who left her response to seeing the raw footage, and reading what she called ‘racist’ comments left on the web about Albert’s death, as well as direct racist comments (“monkey”) towards her—a child.
YouTube user sepulturantera posts the comment:
and btw if you wanna know what killed him, its the countless other useless niggers that watched the other apes with the boards…
“What if that were you, or your son, or daughter,” the young girl asks in her posting, then counts to five, giving viewers the chance to get rid of their racism. YouTube is much more apt at protecting music industry copyrights than protecting children from cyber-terror. This girl is young, and it hurts my heart that she has to learn about this aspect of our society. No, we cannot just count to five and expect to rid our society of racism, no more than we can erase our commitment to violence. Our society’s tolerance for youth violence is already incredible, but sitting here surfing the net, it’s just sad to realize what youth today are exposed to at home. And yet it’s great that the net exposes this murder—perhaps these youth will be the ones to finally create change.
Jozen Cummings’ article “The Beating of Derrion Albert Is Must-See TV”, on TheRoot.com was a common sense reminder:
So let the video of Derrion Albert’s life-ending beating get as many views as the video of Kanye West jumping on stage in the middle of Taylor Swift’s acceptance speech (as I write this, this one currently has 1,959,026 views). Let #derrionalbert be a trending topic on Twitter and make sure it stays there as long as #musicmonday or #jayz. Blog about Derrion Albert like you would your own relationship woes, remix the video of his beating by layering it over Sam Cooke’s “A Change Is Gonna Come” to drive the weight of Albert’s loss home, or get a camera, record your own thoughts about this horrific tragedy, and in the words of YouTube, “broadcast yourself.” But most importantly, watch the video. It hurts, it’s disgusting, but it might be the first step we need to avoid seeing a sequel anytime soon.
Folks tend to forget that we’re always about moving forward, and must therefore always re-frame our pain and anguish into something that sparks us into action, and fuels efforts for change. Like Jozen Cummings’, “I [too] winced when I saw the wooden railroad plank being smacked against Derrion Albert’s head.” Yet, do we worship death, or life? Do we simply mourn, or shake things up to refocus ourselves on life?
Photo: Nadashia Thomas, 6, a cousin of
Derrion Albert, holds a sign beside
a poster of Derrion Albert at Fenger
High School in Chicago, Sept. 28, 2009.
A vigil for Derrion Albert was planned
outside of Fenger High School.
(AP Photo/Nam Y. Huh)
Our society relies so heavily on martyrs, and even invents a menagerie of superheroes to descend upon us as our saviors. Yet, I believe that we could earnestly use the net to spread the message of change so that fewer and fewer of us have to be sacrificed in order for folks to get the message. What happened to Emmett Till had been happenin’! What happened to King—both the good Rev. Dr. and Rodney—had been happenin’! And even Homer Plessy stood, or sat rather, for what was already a probable cause to abandon racism: the trouble with reinforcing ‘race’ (because sometimes we can hardly tell white from Black, so therefore race cannot matter).
But, alas, “they keep on sayin’: Go slow” And we go slow, too; we all seem to sit and stew until somebody—literally someone places their body on the line—gets arrested, beaten, mutilated and/or shot. We are a society that has even preferred placing kids on the front lines of our massive discomfort over race can class, and potentially crossing the boundaries of those rigid social lines. Even the multi-culturalism celebrated in schools tends to fizzle out over time, another myth betrayed by the web: Take a look at old high school pictures of integrated schools, versus the parties and families in which we live now, where we’ve gone back to Black and white, rich and poor. Our social lines are as rigidly divided along class as before the Civil War, and as racially segregated as we were after the Second World War, thanks to suburban sprawl, leading to these concentrations of chronic poverty where the Derrion Alberts live and die. No wonder that our films and media are, too, more retro than Technicolor.
Now that marching and mass movement of people as forms of protest are out, and the age of video coupled with the web is upon us, what us gon’ do! This been happenin’, so what us gon’ do? Wonder what lynching would have looked like on a Nokia!?!
As much as the mammy stereotype may persist alongside images of the domineering Black (southern) mother, Good Times could not deny the dignity of feminine leadership.
Do the right thing. Here’s one for your healthcare debate: “Our government can’t do sh*t!” This episode of Good Times (’74-’79), “The Evans Get Involved”, made the same statement, but didn’t stop there. Government should be able to stand up—must stand up—on behalf of the people, who will stand up regardless (because that’s who we are). But if we’re so capable as individuals, what makes us think that we hold no collective responsibility.
“The Evans Get Involved” is groundbreaking. This is just a nine-and-a-half-minute excerpt. The whole show runs over three, maybe four episodes. The infamous intro/outro of Good Times is clipped, uploaded like a series of other Sit-Com intros from the late 70’s, early 80’s when we were settling into terms like urban decay and renewal.
Temporary lay offs. - Good Times!
Easy credit rip offs. - Good Times!
Scratchin’ and surviving. - Good Times!
Hangin’ in a chow line - Good Times!
Ain’t we lucky we got ‘em - Good Times!*
I can imagine that for the ‘70s crowd, the show was chock-full of ghetto fabulous stereotypes and archetypical characters. The comedic tension between Sis-Bro duo Thelma and J.J. closely mirrors that of Fred Sanford and his sanctified sister-in-law on the show Sanford and Son (’72-’77). Dear Ms. Rolle eventually quit the show in shock and resistance to those same clichés about poor people and Black people: single, domineering mother, sex-sillified P.I.M.P. sons, welfare hot mamas like that of Penny, and so on. I mean, it’s a family show where they killed off the father. Even Bobby (Patrick Duffy) and J.R. Ewing’s (Larry Hagman) dad made ethereal guest appearances after the actor had died in the evening soap opera drama Dallas (‘78-‘91).
Larry Hagman, of course, played a supreme patriarch in the hit show I Dream of Jeannie, where a scantily clad, Arab-wannabe, female slave bid his every wish, falling over herself to please her “master.” What kind of patriarchal wet dream is that? The same as shows like Dallas and the rest, where money reigns supreme—just like in the world of Bling!
Just lookin’ out of the window.
Watchin’ the asphalt grow.
Thinkin’ how it all looks hand-me-down.
Good Times, yeah, yeah
In this one episode, the number of social messages transmitted is incredible. The episode centers around Janet Jackson’s character, Penny. Penny, barely reaching tall-actor Jimmie Walker’s chest, is a heavily abused and neglected child raised by a young ghetto mamma. Penny inappropriately transfers her need for love to J.J., even interrupting the man’s dates, hanging onto him like a—dare I say—moth to a flame. Actually, Penny was more attracted to her mother like a moth to a flame; her mother heavily bruises her and burns the child with an electric iron. It’s pitiful and difficult to watch, but whom else to speak on behalf of children if not popular culture. Indeed, this was prime time TV.
How good are these times? And to what end to we owe any responsibility to act collectively? The nosey neighbors stood up for the neglected child; they witnessed her beating up her doll after J.J. rejected her affections, claiming that if the dumb kid (the doll) were better, then the man would have stayed. The episode dug deep. Indeed, the entire series was as thoroughly dope.
Penny made up all sorts of lies, creating a fantasy life for herself far away from the living hell of the Chicago projects. No matter how good-spirited the folks remained, and no matter how many times the neighbor Willona calls the building handy-man, Bugger, the reality of the ghetto is never absent. The irony of the show, of course, is that they lead lives much happier than the wealthy soap opera characters. The Evans family, their neighbors, their friends, the love amongst them, was truly a picture of the ability to choose happiness in one’s life.
Unlike Alice in any wonderland, this was the ghetto—the asphalt grows. Poet Gwendowlyn Brooks, a Chi-town native, imagined an entire universe on that asphalt, and places like the Golden Shovel. Why sho’: We REAL cool. We…
Unlike any wonderland, it’s the people who have to pull ourselves out of fantasy, and create a reality well above ground. Higher than the sky! Indeed, who shot J.R.? One of his own damn relatives (not to be named—go Google it and learn about the season cliffhanger that made television history). That’s some shit, when family is killing one another. We’re supposed to stick up for one another. But the show, for all it’s glory, reflected the greed of the era—the Reaganomics that convinced many Americans that the best we should do is run off like cattle ranchers and make a buck (and screw the girl—any girl), by any means necessary. It’s a man’s world. And that’s something else that made Good Times different.
As much as the mammy stereotype may persist alongside images of the domineering Black (southern) mother, Good Times could not deny the dignity of feminine leadership. The mother Florida, the neighbor Willona, the sister Thelma, and even the little brother Michael, all resisted a typical sort of patriarchal power and leadership. Shows like The Honeymooners (’55-’56), All in the Family (’71-’79), or even The Flinstones (’60-’66) made direct puns at archetypical patriarchs like Archie Bunker—a decrepit, grouchy patriarch. Yet somehow he always got the last word. The only real critique was that the patriarch in those shows was crude.
The world of Good Times was something different altogether. The clip here, for example, makes great mockery of the facts of the faults of government:
The doctor who failed to lobby on behalf of the abused child, in spite of the loud pleas of another citizens simply standing up.
The policeman, who, like the Dr.’s nurse who wanted to make Penny take her turn in line, just followed procedure.
The thirsty social worker who had to fill out the forms while Penny was probably being punched and ironed. “On the rocks,” she insisted for her beverage.
The unseen and unmentioned teachers and school staff who failed to notice Penny’s bruises, scars and loveless behavior.
The social worker was so caught up in her paper-work that she drank from a fishbowl, and suddenly she took an interest in Black vernacular. They missed Penny, her mother took her and scrammed.
This is business as usual in America, ‘cause our government can’t do nothin’. Least, that’s what people think, and seem to be saying about health care and well-fare (not to mention welfare) today. Our independence and individualism has been warped into some maddening excuse NOT to take any responsibility for ourselves, collectively.
N.I.M.B.Y. (not in my back-yard) was our motto by the end of the Reagan era, the period that Good Times predicted, mocked, and made fun of. Yet, one wonders if it indeed takes Swine Flu or some other virulent agent to convince us that the well-fare knows no borders. Gender, race, and class can divide us, but our selfishness will conquer us. Good Times’ message was things must change—lest things fall apart. And even in those times, there are Good Times.
Any time you meet a payment. – Good Times.
Any time you need a friend. - Good Times.
Any time you’re out from under.
Not getting hassled, not getting hustled.
Keepin’ your head above water,
Making a wave when you can.
People die in basic American procedures, even the policeman in this clip of Good Times showed that. The officer entered, demeaned the Black man, moaned about doing his duty, and virtually spat on the black man again. The officer administered justice, with the threat of an extended baton, over all the Black women wrestling around him. The child was just incidental. And all this was Black-on-Black crime. It was also groundbreaking to show that we can even hate ourselves, act as pariahs, even outside the purview of “Massa”. The oppressed, epitomized by this community in the midst of urban poverty, turned in on itself.
Of course, later on we get outright gang-banging flics like Colors (’88), starring Sean Penn, Robert Duval, and Don Cheadle. Shortly thereafter there’s John Singleton’s classic Boyz in the Hood (’91), with Cuba Gooding, Jr. Lawrence Fishburn, Angela Bassett, Ice Cube, Morris Chestnut, Nia Long, Regina King, Chris Tucker and Tyra Ferrell (of School Daze, Poetic Justice, and Jungle Fever). Gang-banging images and films, including gangsta rap, all depict and reiterate the even lower standards of how the decedents of slaves will treat one another—brother killing brother over a pair of shoes. Sisters knocking off sisters because she looked at her wrong.
The background of Good Times was this pension to destroy one another. But, inside the Evans’ home, the hate was only in the form of Thelma and J.J. constantly playing the dozens. But this was a slapstick, prime-time sit-Com, so everyone had mad jokes. Indeed, Good Times = ROFLMAO.
“Honey, you don’t own the rights or patent on scufflin’,” pins Willona when Penny’s mother barges into the Evans’ stiff brick walls trying to find her little, abused, run-away child. Chip Fields gave a stellar performance in this scene, lamenting over how hard it was to be a poor, teenage, single parent. And it’s hard, agrees Willona, who was raised by a young single mother, too. “All my life, I had to fight,” Miss Sophia says in The Color Purple—Penny’s mother mimicking the same rhetoric. But, different from Miss Sophia: “I can’t keep a man on ‘count o’ Penny,” Penny’s mother says as she breaks down from her rage to sob and cry, feeling sorry for herself. We had lost something over these generations.
Like the Bamabara versus the Fulani in Mali, two ethnic groups that are paired to play the dozens, or regional family names like Kone vs. Traore, which are paired similarly. When members of these disparate ethnic groups or families meet, they crack jokes. There are standard jokes like Sho dunna (bean-eater, which implies that the person farts a lot and stinks). Thelma and J.J. fill seasons of scenes with their arguing and insults. Yet, ultimately the wisecracking takes away all the tension, and they are therefore able to be civil to one another when it counts.
Civil, distinct from cordial, which is what we certainly still have in the South, implies much more than any loose definition of friendliness. If anything, ‘friendliness’ in the Evans’ sense could be better explained by the song “One”. Then, Mary and Bono sing: “We’re one but we’re not the same. We’ve get to carry each other. Carry each other”.
Willona eventually adopts Penny. The handy-man gets involved, and so does the Evans family—who now lives alone as three siblings while their mom and new step-father stay out west. The community will raise Penny, and we get to enjoy the major dramatics of this talented young actress ever more in re-runs.